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Booklet-RIC426.Pdf DE MENU FR — TRACKLIST P. 4 ENGLISH P. 6 FRANÇAIS P. 12 DEUTSCH P. 18 MENU EN 2 Recording: Köln, WDR, Klaus-von-Bismarck-Saal, September 2020 Production: Richard Lorber Recording & Editing: Stephan Schmidt & Andreas Gernemann Executive producer (Ricercar): Jérôme Lejeune Cover illustration: Johann Alexander Th iele (1685-1752),View from the Lößnitz heights towards Dresden, Dresden, Gemäldegalerie, Alte Meister, © akg-images Booklet cover: Anonymus: Portrait of Henryk Bruehl (1700-1763), Museum of King Jan III's Palace at Wilanów © Wojciech Holnicki Photo Ludus Instrumentalis (p. 24) © Sasha Laguna Licensed by WDR mediagroup GmbH DE JOHANN GOTTLIEB GOLDBERG FR (1727-1756) COMPLETE TRIO SONATAS — MENU EN LUDUS INSTRUMENTALIS 3 Evgeny Sviridov: violin Anna Dmitrieva: violin Corina Golomoz: viola Davit Melkonyan: cello Liza Solovey: theorbo Stanislav Gres: harpsichord https://www.evgeny-sviridov.com Trio Sonata in C major, DürG 13 (known before as J.S.Bach Trio-Sonata BWV 1037) 1. Adagio 3'23 2. Alla breve 2'52 3. Largo 1'42 4. Gigue Presto 4'36 Trio Sonata in A minor, DürG 11 5. Adagio 2'31 6. Allegro 2'01 7. Alla Siciliana 3'10 8. Allegro assai 6'44 Trio Sonata in G minor, DürG 12 (version for violin and obbligato harpsichord) 9. Adagio 3'11 4 10. Allegro 5'01 11. Tempo di Menuetto 3'41 Trio Sonata in B flat major, DürG 10 12. Adagio 2'33 13. Allegro 2'30 14. Grave 0'43 15. Ciacona 4'32 Prelude and Fugue in G minor (arrangament for 2 violins and cello of Prelude and Fugue in F minor for harpsichord, DürG 5) 16. Prelude Andante 3'39 17. Fugue 4'37 DE Sonata for 2 violins, viola and basso continuo in C minor, DürG 14 18. Largo 2'37 FR 19. Allegro 3'25 20. Grave 1'29 21. Giga 4'59 MENU EN 5 The instruments Evgeny Sviridov: violin by J. Gagliano, Naples 1732, on loan from Jumpstart Jr Founation Anna Dmitrieva: violin by Anonymus, London ca 1800 Corina Golomoz: viola by Susanne Conradi, Augsburg 2009 Davit Melkonyan: cello by Anonymus, South Germany 1st half of 18th Century Liza Solovey: theorbo by Jacob van de Geest, 1973 Stanislav Gres: harpsichord by Burkhard Zander, 2017, after Johann Daniel Dulcken DE JOHANN GOTTLIEB GOLDBERG – TRIO SONATAS — MENU FR Whilst the name of Johann Gottlieb Goldberg is familiar to many music lovers thanks to J.S. Bach’s famous variations, Goldberg’s own compositions are much less well known. His Trio Sonata in C major was long considered to have been an original composition by J.S. Bach and was included in the Bach-Werke-Verzeichnis (BWV 1037) until Ernst Dadder confirmed Goldberg’s authorship in an article that appeared in the Bach-Jahrbuch of 1923. The little that we know about Goldberg’s short life is that he was born in Ohra near Danzig in 1727. His father, Johann Goldberg, was a luthier who made both lutes 6 and stringed instruments. The son most probably received his first musical training from Johann Balthasar Christian Freislich (1687-1764), the Kapellmeister at the Marienkirche, and from Johannes Jeremias Du Grain (1700-1764) the organist at the Elisabethkirche, both in Danzig. At the age of ten the young keyboard virtuoso so impressed Count Hermann Carl von Keyserlingk that the Count took Goldberg to Dresden and introduced him to Wilhelm Friedemann Bach, the eldest son of J.S. Bach; Keyserlingk later sent the young Goldberg to Bach himself. Wilhelm Friedemann most probably taught Goldberg during his time in Dresden, since Bach was unable to supervise Goldberg’s training fully from Leipzig; Wilhelm Friedemann, in any case, also described Goldberg as his pupil in a letter. Count von Keyserlingk was the Russian ambassador to Dresden from 1733 to 1745. The art-loving count was an active protector of music and an important patron. Many musicians enjoyed his hospitality and favour, including Wilhelm Friedemann Bach, Johann Georg Pisendel, and Franz Benda. Keyserlingk had a particular affection for the music of Johann Sebastian Bach, with whom he was on friendly terms. He not only assisted Bach in obtaining the title of Kurfürstlich Sächsischen und Königlich Polnischen Hof-Compositeur (Court composer to the Electoral Saxon and royal Polish courts) in 1736, but also acted as his host during Bach’s visit to Dresden in 1742. Keyserlingk was also godfather to son of Carl Philipp Emanuel Bach Johann Nikolaus Forkel in the first biography of Bach (1802): “The Count [Keyserlingk] once expressed to Bach that he would like to have some keyboard works for his Goldberg, pieces that would be of such a gentle and lively character that they might cheer him a little during his sleepless nights. Bach believed that he could best fulfil this wish with variations, although he had previously considered the form to be one that gave little satisfaction because of its unchanging basic harmonies”. This statement by Forkel formed the basis for the assumption that Bach wrote the 7 Aria mit verschiedenen Veränderungen (Aria with various variations) for Goldberg; Bach published these variations as the fourth part of his Clavierübung. Goldberg often travelled to Bach in Leipzig during his service with Count Keyserlingk in Dresden, during which period he composed the two cantatas Durch die herzliche Barmherzigkeit and Hilf, Herr! die Heiligen haben abgenommen. Bach himself was involved in the preparation of the vocal and instrumental material as well as the performance of the first of these works. Wilhelm Friedemann Bach left his post in Dresden in 1746, at which time Goldberg moved to Leipzig and seems to have lived in the house of one Georg Heinrich Bose, a Leipzig dealer in gold and silver who was a friend of Bach. Count Keyserlingk became ambassador to the Prussian court in Berlin in 1746 and returned to Dresden in 1749. A letter by Wilhelm Friedemann Bach shows that Goldberg re-entered Keyserlingk’s service on his return to Dresden, where he remained until he joined the Kapelle of Count Heinrich von Brühl (1700-1763) in 1751. The Count, a successful diplomat and patron of the arts like Keyserlingk, was Prime Minister under the Elector Friedrich August II and ordered the construction of numerous palaces as well as the renowned Brühlsche Galerie, erected to house his extensive collection of paintings. The difficult economic situation after the Seven Years’ War necessitated the sale of the Brühl collection; it was acquired by the Catherine the Great, Tsarina of Russia and today is kept in the Hermitage in Saint Petersburg. Brühl’s Kapelle consisted of 15 musicians at the time that Goldberg was a member; he was given the rank of Hofgräflicher Kammermusicus and received a monthly salary of 25 talers. Goldberg composed virtuoso harpsichord concertos in the Dresden galant style and most probably several chamber works whilst in Brühl’s service, remaining there until his death from tuberculosis in 1756. In addition to a report in the Kern Dresdenischer Merkwürdigkeiten on his funeral on 15 April, the church record also states that Goldberg 8 was unmarried and gives his former address as Töpfergasse in Bährs Hause. J.F. Reichardt’s description of Goldberg as an extremely melancholy and obstinate eccentric dates from 1792. This probably applies most closely to the character of the piano virtuoso, for he was passionate in both his likes and dislikes; he destroyed most of his compositions and called the few that he kept “wretched trifles for ladies”. Apart from twenty-four polonaises, only a few keyboard works have survived. Although he fascinated his contemporaries with his brilliant piano playing — “Never did anyone possess greater strength in playing à livre ouvert (sight reading) and people used to call him a note-gobbler” (J.W. Hertel, 1783) — his compositional genius was no less obvious, both in keyboard writing and in strict counterpoint. It was not for nothing that Reichardt placed Goldberg on an equal footing with Handel and Bach. Goldberg’s two cantatas, written when he was fifteen and a pupil of Bach, display an astonishing skill in the use of imitation and fugato techniques in four- and five-part choruses. Goldberg’s mastery of the stilo antico is further revealed in his chamber music works: a total of 4 trio sonatas (C major, G minor, B flat major and A minor) and aSonata a quattro in C minor have survived. A trio sonata for flute, violin and basso continuo in E minor has been lost, while a trio sonata in F minor has also been attributed to Goldberg, although it was most probably composed by J.J. Quantz. Goldberg’s compositions provide a unique blend of the old style he owed to Bach and the newer galant style of his own time; they are a testimony to his great artistry and imagination. The C major Sonata (DürG 13) was already circulating under the names of both J.S. Bach and J.G. Goldberg during the years 1761-1764, although the sonata was mostly attributed to J.S. Bach during the 19th century: Dürr and Dadder state that there are three manuscripts of the sonata that date from the 19th century that attribute the work to J.S. Bach, whilst the renowned publisher W. Rust brought out the work as a Sonata by J. S. Bach in 1860. As mentioned above, the work was referred to as BWV 1037 even in 1950; the Bach scholar Philipp Spitta pointed to the name Goldberg on the manuscript as early 9 as 1871, although he believed that Goldberg was its copyist. Ernst Dadder, Goldberg’s first biographer, knew of three manuscript copies of the sonata that bore Goldberg’s name.
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